Note issue

Edited: March 26, 2021, 8:07 AM · So I suggest carefully practicing, in isolation, the scale upon which the passage is built. Then ask yourself -- when you are playing an arpeggiated passage, should you use Pythagorean scale tuning? Or just double-stop tuning to make the intervals sound more chord-like? I have found that the answer to this question is not always obvious but it helps to know where along that continuum you want to be. Once you have decided in your mind what your "B" should sound like, then you'll be ready to practice it into your passage and -- importantly -- make sure they're all the same. But without having a concept in your head about what a note should sound like before you play it, how you can you even hope to get it right?

March 26, 2021, 10:30 AM · Try a different fingering. From looking at the music I guess that Telemann anticipated first position and the use of both the open G and D strings.

If you want to avoid the open strings you can choose second or third position, each option with different advantages and disadvantages.

Looking at the music made me realize that you only have to make about half a dozen very minor changes to make the solo part playable on the violin. Telemann wrote a concerto for viola and chose not to use that fifth that is the viola's unique possession!

March 26, 2021, 12:44 PM · So another thing to ask, what is the best part of the bow to do the semi quaver passages (between f natural and g string) in bar 15? I can't figure it out and its driving me crazy. I like doing it at the frog, but not sure thats stylistically appropriate